Louis Lozowick was born in Russia and studied at the Kiev Art School. He came to New York in 1906 and studied at the National Academy of Design with Leon Kroll and Emil Carlsen. He graduated from Ohio State University in 1918 and then went to Europe. While there he studied in Paris and Berlin and was influenced by the Constructivists, De Stijl and Bauhaus philosophies.
By 1926, when he joined the editorial board of the left-wing journal, New Masses, he was well-versed in current artistic developments in Europe, such as Constructivism and de Stijl. These hard-edged, linear styles, evident in New York (Brooklyn Bridge), suggest the possibility of an efficient reframing of the world, as did the political theories espoused in New Masses. He served on the editorial board of the New Masses and was active as a lecturer and writer. He was in the graphics division of the New York City WPA from 1934 to 1940 and was a member of the American Printmakers as well as the American Society of Printers, Sculptors and Gravers.
Lozowick was highly interested in development of Russian avant-garde and even published a monograph on Russian Constructivism entitled Modern Russian Art. In 1943 the artist moved to New Jersey where he continued to paint and make prints. The human condition remained a constant theme of his art, and an ongoing interest in nature appears more frequently in his later works.
His work was included in the AIGA 50 Prints of the Years in 1932, 33 and 34. Lozowick’s lithographic work featured his interest in the repetitious form of windows, pipes, towers, tanks and smokestacks of the factories, skyscrapers and bridges of New Jersey and New York.